The British-born choreographer is widely regarded as the most gifted talent to enter the ballet world in several decades with a rise to fame that has been quick and decisive. His knowledge of ballet is deep and his expression of it pure, with an imagery that is fresh and alive, never predictable. As much as he is part of the long tradition of the art form, he also willingly departs from it when necessary.

He said this week from San Francisco that his body of work totals 41 pieces. There are full-length ballets and pieces d'occasion, and everything in between, some narrative and some abstract. And he only turns 34 this month. His ballets have been performed on two continents, including at the New York City Ballet and San Francisco Ballet, which he regards his second home after City Ballet; Royal Ballet, where he danced for two years before leaving for the New World and fresh opportunities, in 1993; Bolshoi and Boston; and a number of other lesser ensembles. He has done stints in musical theater ("Sweet Smell of Success") and the movies ("Center Stage"), although neither was a critical success.

Considered his "breakthrough" ballet, "Polyphonia" was premiered by City Ballet in 2000, where he was the company's first artist-in-residence. The following season he was named resident choreographer.

The work, he said, stemmed from his desire to go in new directions, to experiment with music that was not romantic, to try something "a bit terrifying and daunting. I am the sort of guy who likes to push myself in different directions and set myself challenges." He chose a set of piano pieces by 20th century Hungarian composer Gyorgy Ligeti that he had known briefly as a teenage piano student. "I hated them then but rediscovered them later and changed my mind."

"Polyphonia" has been called an homage to Balanchine. It is, he said, but only as a starting point. After that, he departs from "Balanchine ideals." Wheeldon regards Balanchine an influence on his imagination, as well as Jerome Robbins -- the two gods of City Ballet -- in addition to the two gods of Royal Ballet -- Frederick Ashton and Kenneth MacMillan -- on whose works he was reared. Wheeldon also mentions, in terms of living influences, Jiri Kylian and William Forsythe.

His choreography is driven by music, Wheeldon said. Usually. He finds music that stimulates and motivates his thinking and then looks for whatever is appropriate in dance. Then he goes into the studio, sometimes with his ideas about how to proceed firmly in his head and sometimes not. "I love collaborating with dancers." He calls his process of choreographing as "painting or sculpting with music."

Because Wheeldon is so deft in so many styles, he has been criticized for having no singular style.

"I have only been at this for about nine years," he answers. "There is lot more to come. I am in no hurry. People are so anxious to make categories, which I understand. That is human nature. However, I do see certain traits, certain stylistic elements that keep repeating themselves, although not my taste in music, which keeps changing and developing. Often, there is narrative element in which I will take a story and boil it down, leaving only the essence. I am very happy in the abstract world. I like to discover atmosphere."

Wheeldon startled the dance world early this year when he announced he was going to form his own dance company, Morphoses, the Wheeldon Company. It will make its debut in August at the Vail International Dance Festival in Colorado, followed by performances in London and New York. Why?

"I want to explore myself more fully, branch off and do my own thing."